Latest news with #ProducersGuildofAmerica
The South African
5 days ago
- Entertainment
- The South African
South African talent shines in Superman documentary
South African-born producer Robert Ford is basking in international acclaim with his latest project, Super/Man: The Christopher Reeve Story . The documentary, which arrives on Showmax from Friday, 25 July, has earned an impressive four Emmy nominations. Recognition comes in the categories of Directing, Writing, Editing, and Music Composition. Super/Man celebrates the extraordinary life of Christopher Reeve, immortalised as Superman. Reeve rose from an unknown stage actor to a Hollywood icon. His portrayal of Clark Kent/Superman set the gold standard for superhero films. Reeve starred in four Superman films and played a variety of roles, showcasing his remarkable range. Tragedy struck in 1995 when a horse-riding accident left Reeve paralysed from the neck down. Undeterred, he became a leading advocate for spinal cord injury research and disability rights, according to IMDB . He balanced activism, fatherhood, and continued work in the film industry, emerging as a real-life hero. Ford, originally from Wellington in the Western Cape, reflects on his journey, 'I wish I had known more about the South African film industry at that stage. I only discovered later that SA has such a vibrant film culture.' Now based in the UK, Ford has built a global reputation across film production roles over 25 years. The Superman documentary features never-before-seen home videos and a wealth of family archives. For the first time, Reeve's three children speak at length on film about their father. Hollywood friends and colleagues also share insights, giving the story depth and warmth. With a staggering 98% critics' rating on Rotten Tomatoes, Super/Man has swept more than 30 awards. These include Best Documentary at the 2025 BAFTAs and major wins from the Producers Guild of America and Critics' Choice Documentary Awards. Ford describes the biggest challenge of filming the Superman documentary: 'We had hundreds of hours of footage. The story could have gone in so many directions, so there were lots of difficult decisions in the edit. Letting go of the scenes you love is hard; it's hard killing your babies.' He is also passionate about representation. 'It's important that those stories are heard and not marginalised,' says Ford. For Super/Man , several disabled crew and consultants played key roles. Their insight shaped the film, especially on the complex ethics and realities of disability and cure. Ford's ties to home remain strong. 'I'd love to film in South Africa again. South Africa has great filmmakers and crew, and the filmmaking infrastructure is brilliant,' he says. He's thrilled for local viewers to watch his work and Superman documentary, adding, 'It's a universal story. Behind the onscreen superhero was a real-life hero.' Super/Man stands as a testament to courage and resilience, both on and off the screen. South Africans can take pride in one of their shining moments on the world stage. Let us know by leaving a comment below, or send a WhatsApp to 060 011 021 1. Subscribe to The South African website's newsletters and follow us on WhatsApp, Facebook, X and Bluesky for the latest news.
India Today
6 days ago
- Entertainment
- India Today
Benedict Cumberbatch labels Hollywood as grossly wasteful, urges sustainability
Actor Benedict Cumberbatch has criticised the Hollywood film industry for being "grossly wasteful". His comments came during an episode of the food-focused podcast, Ruthie's Table 4. Expressing his concerns, he highlighted the extensive use of resources for set building, lighting, and the physical transformations required for major roles."Think about set builds that aren't recycled, think about transport, think about food, think about housing, but also light and energy," he noted, emphasising the high levels of wastage required for studio lighting. These issues are compounded by the industry's reliance on single-use plastics and other non-sustainable detailed his personal experience while filming Marvel's 'Doctor Strange'. He shared that he had to consume five meals a day, along with snacks like boiled eggs, almonds, and cheese. This was done to maintain the muscle mass needed for the role. "It's horrific eating beyond your appetite," he remarked. The actor questioned the broader responsibility towards sustainability. He stated, "Going back to responsibility and resourcefulness and sustainability, it's just like, 'What am I doing? I could feed a family with the amount I'm eating.'"The 49-year-old stated that he is committed to promoting green initiatives on movie sets in his roles as both an actor and a producer. "You don't have to give the crew plastic bottles," he said. He also advocated for alternatives in line with 21st-century sustainability efforts. The environmental impact of film production has been highlighted by the fact that movies can emit between 391 and 3,370 metric tonnes of CO2, depending on their scale. This reality has prompted organisations such as the Producers Guild of America to push for more sustainable practices within the industry. The call for a transition to clean energy is becoming increasingly urgent as climate change continues to impact productions and filming locations worldwide.- EndsMust Watch
Yahoo
13-05-2025
- Business
- Yahoo
Jon Voight, Sylvester Stallone and entertainment groups lobby Trump for tax provisions
For the record:3:09 p.m. May 12, 2025: A previous version of this story stated Susan Sprung's title as executive director. She is chief executive of the Producers Guild of America. So-called Hollywood ambassadors Jon Voight and Sylvester Stallone joined with a coalition of entertainment industry groups for a letter delivered this week to President Trump urging him to support tax measures and a federal tax incentive that would help bring film and TV production back to the U.S. The letter is signed by Voight, Stallone, all the major Hollywood unions and trade groups such as the Motion Picture Assn., the Producers Guild of America and the Independent Film & Television Alliance, indicating widespread support from the entertainment industry. "Returning more production to the United States will require a national approach and broad-based policy solutions ... as well as longer term initiatives such as implementing a federal film and television tax incentive," the letter states. Read more: Hollywood's chaotic week of Trump, tariffs and tax break talk ends with no clear direction In the letter, which was obtained by The Times, the groups say they support Trump's proposal to create a new 15% corporate tax rate for domestic manufacturing activities that would use a provision from the old Section 199 of the federal tax code as a model. Under the previous Section 199, which expired in 2017, film and TV productions that were made in the U.S. qualified as domestic manufacturing and were eligible for that tax deduction, the letter states. The letter also asks Trump to extend Section 181 of the federal tax code and increase the caps on tax-deductible qualified film and TV production expenditures, as well as reinstating the ability to carry back losses, which the groups say would give production companies more financial stability. The tax measures — particularly Sections 199 and 181 — are issues the entertainment industry has long advocated for, according to two people familiar with the matter who were not authorized to comment publicly. The letter itself came together over the weekend, they said. It was intended to present different measures that shared the same goal of increasing domestic production, one person said. 'Everything we can do to help producers mange their budgets is important," said Susan Sprung, chief executive of the Producers Guild of America. "In an ideal world, we'd want a federal tax incentive, in addition to these tax provisions, but we want to advocate to make it as easy as possible to produce in the United States and make it as cost-effective as possible.'Last week, Trump threw the entertainment industry into chaos after initially suggesting a 100% tariff on films made in other countries. Then, California Gov. Gavin Newsom jumped into the mix, calling for a $7.5-billion federal tax incentive to keep more productions in the U.S. The proposals on the federal level come as states are upping their own film and TV tax credits to better compete against each other and other countries. Late last week, New York Gov. Kathy Hochul signed the state's budget, which increased the cap for its film tax credit to $800 million a year, up from $700 million. The expanded tax incentive program allocates $100 million for independent studios and gives additional incentives to companies that produce two or more projects in New York and commit to at least $100 million in qualified spending. The program was also extended through 2036, which could help attract TV producers, who often want to know that their filming location is committed if they're embarking on a series. Production in New York has been slow, and the state needed this boost, said Michael Hackman, chief executive of Hackman Capital Partners, which owns two film and TV studio properties in the state, as well as several facilities in California. The increase from New York could also push California to increase its own film and TV tax credit program. Last year, Newsom called to increase the annual amount allocated to California's film and TV tax credit program from $330 million to $750 million. Two bills are currently going through the state legislature that would expand California's incentive, including increasing the tax credit to cover up to 35% of qualified expenditures (or 40% in areas outside the Greater Los Angeles region), as well as expanding the types of productions that would be eligible for an incentive. "We have the best infrastructure, the best talent, we have everything going for us," Hackman said. "So if our state legislature can get more competitive with our tax credits, I think more productions will stay. But if they don't, this will result in more productions continuing to leave the state and going to New York and to other locations." Sign up for our Wide Shot newsletter to get the latest entertainment business news, analysis and insights. This story originally appeared in Los Angeles Times. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Los Angeles Times
12-05-2025
- Business
- Los Angeles Times
Jon Voight, Sylvester Stallone and entertainment groups lobby Trump for tax provisions
So-called Hollywood ambassadors Jon Voight and Sylvester Stallone joined with a coalition of entertainment industry groups for a letter delivered this week to President Trump urging him to support tax measures and a federal tax incentive that would help bring film and TV production back to the U.S. The letter is signed by Voight, Stallone, all the major Hollywood unions and trade groups such as the Motion Picture Assn., the Producers Guild of America and the Independent Film & Television Alliance, indicating widespread support from the entertainment industry. 'Returning more production to the United States will require a national approach and broad-based policy solutions ... as well as longer term initiatives such as implementing a federal film and television tax incentive,' the letter states. In the letter, which was obtained by The Times, the groups say they support Trump's proposal to create a new 15% corporate tax rate for domestic manufacturing activities that would use a provision from the old Section 199 of the federal tax code as a model. Under the previous Section 199, which expired in 2017, film and TV productions that were made in the U.S. qualified as domestic manufacturing and were eligible for that tax deduction, the letter states. The letter also asks Trump to extend Section 181 of the federal tax code and increase the caps on tax-deductible qualified film and TV production expenditures, as well as reinstating the ability to carry back losses, which the groups say would give production companies more financial stability. The tax measures — particularly Sections 199 and 181 — are issues the entertainment industry has long advocated for, according to two people familiar with the matter who were not authorized to comment publicly. The letter itself came together over the weekend, they said. It was intended to present different measures that shared the same goal of increasing domestic production, one person said. 'Everything we can do to help producers mange their budgets is important,' said Susan Sprung, executive director of the Producers Guild of America. 'In an ideal world, we'd want a federal tax incentive, in addition to these tax provisions, but we want to advocate to make it as easy as possible to produce in the United States and make it as cost-effective as possible.' Last week, Trump threw the entertainment industry into chaos after initially suggesting a 100% tariff on films made in other countries. Then, California Gov. Gavin Newsom jumped into the mix, calling for a $7.5-billion federal tax incentive to keep more productions in the U.S. The proposals on the federal level come as states are upping their own film and TV tax credits to better compete against each other and other countries. Late last week, New York Gov. Kathy Hochul signed the state's budget, which increased the cap for its film tax credit to $800 million a year, up from $700 million. The expanded tax incentive program allocates $100 million for independent studios and gives additional incentives to companies that produce two or more projects in New York and commit to at least $100 million in qualified spending. The program was also extended through 2036, which could help attract TV producers, who often want to know that their filming location is committed if they're embarking on a series. Production in New York has been slow, and the state needed this boost, said Michael Hackman, chief executive of Hackman Capital Partners, which owns two film and TV studio properties in the state, as well as several facilities in California. The increase from New York could also push California to increase its own film and TV tax credit program. Last year, Newsom called to increase the annual amount allocated to California's film and TV tax credit program from $330 million to $750 million. Two bills are currently going through the state legislature that would expand California's incentive, including increasing the tax credit to cover up to 35% of qualified expenditures (or 40% in areas outside the Greater Los Angeles region), as well as expanding the types of productions that would be eligible for an incentive. 'We have the best infrastructure, the best talent, we have everything going for us,' Hackman said. 'So if our state legislature can get more competitive with our tax credits, I think more productions will stay. But if they don't, this will result in more productions continuing to leave the state and going to New York and to other locations.'
Forbes
26-04-2025
- Entertainment
- Forbes
Bob Dylan Biopic 'A Complete Unknown' Ends Theater Run. How Much Did It Make?
Timothée Chalamet in "A Complete Unknown." The Oscar-nominated Bob Dylan biopic A Complete Unknown, starring Timothée Chalamet as the music icon, officially ends its theatrical run. How much did the film make at the box office? Rated R, A Complete Unknown opened in theaters on Dec. 25, 2024. The official summary for the film reads, 'New York, 1961. Against the backdrop of a vibrant music scene and tumultuous cultural upheaval, an enigmatic 19-year-old from Minnesota arrives with his guitar and revolutionary talent, destined to change the course of American music. 'He forges intimate relationships with music icons of Greenwich Village on his meteoric rise, culminating in a groundbreaking and controversial performance that reverberates worldwide.' Directed by James Mangold, A Complete Unknown also stars Edward Norton as Pete Seeger, Monica Barbaro as Joan Baez, Boyd Hollbrook as Johnny Cash and Scoot McNairy as Woody Guthrie. The film also stars Elle Fanning as Sylvie Russo, a fictional representation of Suze Rotolo, who was Dylan's girlfriend during time period. As indicated by The Numbers' weekly theater count list, A Complete Unknown's last day in theaters was Thursday, April 24, when it made $345 from 15 North American theaters to bring its domestic tally to $75,001,720. Along with the film's international take of $64,305,413, A Complete Unknown had a worldwide box office gross of $139,307,133. The film had a production budget of $60 million to $70 millon before prints and advertsiting costs, acccording to Variety. In additon to the film's success at the domestic and international box office, the Bob Dylan biopic A Complete Unknown was a big hit with awards season voters. Among the film's biggest accomplishments were its eight Oscar nominations including Best Picture, Best Directing for James Mangold, Best Actor for Timothée Chalamet, Best Supporting Actor for Edward Norton and Best Supporting Actress for Monica Barbaro. Mangold and Jay Cocks were also nominted for Best Adapted Screenplay, which they based on Elijah Wald's book Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties. A Complete Unknown also scored Best Picture nominations from British Academy of Film and Television Arts Awards, the Producers Guild of America, the Critics Choice Awards and the Golden Globes (Motion Picture - Drama). While Chalamet fell short in his bid for a Best Actor Oscar, he won the Outstanding Actor in a Lead Role in a Motion Picture award at the 2025 Screen Actors Guild Awards. Chalamet was also nominated for Best Actor by the BAFTAs, the Critics Choice Awards and the Golden Globes (Drama). While A Complete Unknown is no longer playing in theaters, the Bob Dylan biopic is available to purchase or rent on video on demand and is streaming on Hulu.
